Shorter "Blocking Period"
Printed From: Community Theater Green Room
Category: Producing Theater
Forum Name: Directing
Forum Discription: For questions about handling shows, actors, crew, board members, children ...or do we repeat ourselves?
URL: http://www.communitytheater.org/forum/forum_posts.asp?TID=3879
Printed Date: 11/23/24 at 2:03pm
Software Version: Web Wiz Forums 8.05 - http://www.webwizforums.com
Topic: Shorter "Blocking Period"
Posted By: Theatrestation
Subject: Shorter "Blocking Period"
Date Posted: 3/13/09 at 11:33am
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I am involved with a community theatre which has a reputation for strong productions. After years of problems some nasty volunteers who drove many away we are again thriving as far as people wanting to be involved IN shows and BACKSTAGE. It's a very good atmosphere. Our one problem is finding people who want to direct. You can't just let anyone direct and those who are "qualified" at this level don't want to spend their involvement time directing, they would rather be onstage. This has left most of the directing divided by a very few of us. One or two people would want to come in and direct caused major problems before when they did, so they are out - None of us currently involved want to see us backslide. We usually do the 30 or so rehearsal schedule. As a director have any of you effectively applied a shorter "blocking period" with the cast members spending more time learning lines away from the traditional rehearsal period? We are thrilled to have so many people who want to participate onstage and backstage, but the directors need a little down time and would welcome rehearsal adjustments that would allow some downtime for us without sacrificing quality. We have a subscription season so no schedule changes as an option here.
Thanks for any input! ------------- http://www.castbuilding.com http://www.theatrestation.com |
Replies:
Posted By: MartyW
Date Posted: 3/13/09 at 12:04pm
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We do about the same amount of "total" rehearsal time.. Six weeks for a straight and eight for a musical. As far as total number of days, that varies some on the directors style, the complexity of the show and the collective skill of the cast. We have been known to do as little as four a week, but sometimes as many as six again, depending. Five is our norm. You mentioned a shorter "blocking time" Blocking, hopefully, doesnt take up all that much of the rehearsal period, and lines are already expected to be learned off site. Of course that being said, many don't learn them, and truthfully, due to learning styles, many can't learn them (at least well) until they have blocking and buisness to associate them too (Good old kenestitic learners) We have pushed shows through in four weeks, but thats with a director who has ALL of his ducks in a row, and cream of the crop cast and of course a show that is not all THAT difficult.. I hear your problem about not having enough directors, thats why we often have one director doing multiple shows each year. And yes, whenever the poll about what theaters pay for directors, we raise our hand on that one too.. I understand and agree with your decision to not use directors who have had problems in the past. Your best hope is to try and "raise" a few new ones... Incourage some of your regulars by pointing out thier good skills that would make them director material. Have workshops on the basics. Encourage Assistant Director positions with the goal of learning and moving up... Just some thoughts... ------------- Marty W "Till next we trod the boards.." |
Posted By: SpenceKenzer
Date Posted: 3/17/09 at 5:45pm
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Our CT does non-musicals only (5 full-length ones per season), and follows the following typical schedule: week 1 = auditions weeks 2 thru 9 = rehearsals (8 weeks; 3 or 4 nights per week) week 10 = performance week (4 shows, Wed. thru Sat.) If the show is lighter or shorter we can rehearse 7 weeks instead of 8; similarly we can rehearse 9 weeks instead of 8 for a heavier or longer show. For us, a shorter blocking period would probably involve more rehearsals per week, which seems to be NOT desired by our active members. We do encourage actors to work on their lines outside of scheduled rehearsals (my mantra is: "read all of your lines, out loud, every day at least once, even if you're not 'acting' them). However, I think we realize that some of our active members rehearse only at scheduled rehearsals, and we seem to be more or less fine with that. I'd be curious to hear suggestions about "how to 'raise' new directors". What are your CT's minimum criteria or qualifications or experience level for someone you are willing to engage to direct one of your usual/main productions? ------------- --------------------<*> Saludos, my dahlinks, and you know who you are ... ! |
Posted By: KEB54
Date Posted: 3/20/09 at 10:29am
Hmmm ... That's tough one. My first thought is, at least in my case, the Blocking Period is relatively short to begin with, and the entire rehearsal period just isn't an issue for me. For me it is all the time spent outside rehearsal time working on the show -- I mean I love doing it, but that is where the real time commitment is and generally few are aware that it is happening (my wife is aware of it  ).
Generally I don't work with an AD, just a Stage Manager, but maybe in your situation maybe an AD is the way to go. It may help to develop new directors for your group. I don't know that it would save you time, in fact it probably would take more time, but it may save you from attending some rehearsals. Work with your AD a lot outside of rehearsal discussing cript analysis, vision, concept and approach, etc. Do scene break downs and blocking with your AD, then have the AD block and run scenes without you there. You can come into rehearsals later in the process to clean things up and polish.
I think you still need to lead the charge and communicate often with the costumer, designers, etc., but an AD may be able to help with some of that if the two of you are on the same page.
------------- KEB |
Posted By: belle
Date Posted: 3/20/09 at 12:08pm
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We usually rehearse for about 7 weeks for a non-musical. We rehearse 2 nights a week for 1 1/2 to 2 hours until the last week. That week we rehearse and do tech on Sunday from 2-11 p.m. Then, dress on Monday. We rehearse every night the last week and open on Friday. We rehearse 6-11 the last week.
I divide the play into 3 sections. The divisions may or may not be at act breaks. They are often dictated by when a new character comes on. Actors are only required to come when they are onstage (but are welcome any time).
For each section we block at the first rehearsal, carry books and walk through the section at the next rehearsal, and do it the third time off book. That's the first week and a half.
Then, we repeat the process with the second section. After they are off book on the second section, we usually spend the 7th rehearsal running sections 1 and 2 off book. That keeps the first section fresh.
We repeat block, rehearse, perform off-book for the third section. That's 10 rehearsals in five weeks. At the very first rehearsal we read through the whole play, get acquainted and talk about the characters and plot points. At 12th rehearsal, we work on section or parts of sections that need it.
We don't always have a full seven weeks; we may have only 6 1/2 and do the final run through of the third section during production week.
On Sunday we run the whole show twice with tech. Our shows don't have much complicated tech although we have done Inspecting Carol and Noises Off. Each night of the last week we run things that need work before we run the whole show straight through.
The actors I work with learn their lines at home. They can also work on them when they are not onstage at the rehearsals, helping each other. I don't have an assistant or stage manager.
We did Rumors last fall to sold out houses. It ran fine. I've also used the same technique with college-age actors and which a group of church people who do only one show a year. It's worked for 20 years. It requires having responsible actors who know that they must use their time at rehearsal to the fullest extent.
There is no way I could get people to rehearse 4 nights a week. We are all too busy with other things--job, church, sports, family. I always say that commiting to community theatre is like commiting to bowling. You practice on your owe and compete one or two nights a week until the tournament when you are there every night.
I admire those of you who are willing to give up 4 nights a week to the theatre. We are amatures and have to fit theatre into our regular lives.
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Posted By: Fractal514
Date Posted: 3/24/09 at 9:27pm
| I use a one or two rehearsal process. I block the entire show ahead of time, in a script with the set outline on the back of each page so that when the script is opened I can see the set and a page of dialogue. I mark the movements in the script and draw what I want on the diagrams. I hold a rehearsal early on, usually the first week, and at that rehearsal dictate all of the blocking. I usually have the stage or a representation set up so that I can walk through the movements myself if there are any questions. If it is a shorter rehearsal, less than three hours, then I will stop after the show has been dictated, and then go through any difficult sections. If it is a longer rehearsal, like a 4-5 hour Sunday rehearsal, then I will have everyone move through the blocking in the set-up, this occurs on the second rehearsal if they are shorter periods. I find that this works extremely well, though it does require a lot of focus from the actors, and a bit of extra work on my part. My crews LOVE this as it allows them to attend ONE rehearsal to determine the lighting, set, and other technical needs. I find that the actors, though skeptical at first, end up loving the process as well as it leaves more time for RUNNING scenes and learning music/dances. The one thing that this does require that I find lacking in some directors is the ability to admit when you are wrong. If you can't do that then don't use this system, as you will inevitably have to make slight adjustments to accommodate the actors needs, and if you can't say, "hey guys, that was my fault, let's try something else" then you won't like this at all. |
Posted By: whitebat
Date Posted: 4/04/09 at 12:12pm
| I would probably start having the actors log "tech" hours, like HS. I guess our HS required each actor to contribute a certain number of tech hours per show (not when I was acting though). Then you could count directing a play as all the tech hours for one or two shows. Sometimes if people want to keep a CT going, they have to wear different hats. I'd really prefer to work backstage or in the light booth, but if they need me acting, I'd do that too. It would probably be a good idea to have some kind of apprenticeship in place for new directors. Someone who's holding book or working as an assistant director is probably learning about blocking anyway. I'm thinking I may have to direct a Reader's Theater production so our CT will be doing SOMETHING, even though I pretty much swore an oath to never direct again. I think I understand line readings fairly well, but I know I don't understand blocking. |